One of the most enjoyable and rewarding experiences. In fact, the challenge of helping students comprehend any kind of concept in ways that made clear sense to them became These revelations helped me immensely both as a teacher, and as a musician. Some methods of approach fit the individual's mentality better than Second, not everyone absorbs information the same way, there are many different ways of conveying information. First, conceptualizing the idea is more important than it's execution - you can't speak a language if you don't know what the This was huge, and it taught me a number of very important lessons.
Anything and everything was musically possible with no limitations. Once I made that connection, the fretboard literally exploded in my mind. One family of notes, one key, with each note in turn acting as a central voice. It was dead simple once all the pieces were in place. The third and final textbook I referred to rang that bell loud and clear. Same thing - just more muddling about in the mental dark.įunny thing is, persistence is an amazing thing - no problem can withstand the power of concentrated human thought. So I went to a second textbook to see if I could gain the missing link that made sense of 'modes' and how it I would practice the scale patterns by wrote, visually, but they sounded.
The original text book I drew from just didn't put it in terms that resonated with my thinking. I knew it was an extremely important musical device, but I just couldn't wrap my head around it. Trying to comprehend the idea of modes, the concept confused the heck out of me. I took the same concept and applied it to my study of It'sĪn amazing book that really opened my eyes to the power of learning and applying arpeggios to all the common chord progressions in jazz. I think when I realised that jazz improvisation was all about learning arpeggios! There is a book by Ted Greene called 'Single Note Soloing vol.2' which was recommended to me by my teacher. Once I started to find good 'diagonal' guitar fingerings for this, You could improvise on guitar without having a great ear that doing the complete job.įorward Motion applied to modes of the major scale (and later on to modes of melodic minor) as described by pianist Hal Galper. I guess I sometimes must have felt that scales like pentatonic/pentatonic blues explained very much of the method by how It's hard to mention a specific aha moment, at least what I can remember. The lesson in this is to study the roots, the basic elements of music, and you will discover what really makes music work and flow.
In a way, it's observing the conventions of theĬommon practice era that makes you realise there is, in theoretical terms at least, no such separation between what we now distinguish as chords and scales or rhythm and lead guitar, and that To realise that harmony and melody are both fundamentally a part of the same musical system brings everything together into a coherent statement. Might not sound a big deal, but we're almost conditioned to separate chord and scale playing into a strict rhythm vs lead dichotomy, partly because of how modern music developed and became For example, how chord shapes can be pulled directly from a scale pattern to harmonise that scale in different ways. When I discovered the intrinsic connection between chords and scales. Weeks of a college theory class felt like having a curtain pulled back: 'So that's how it all fits together!'. Like a lot of guitarists, I had worked out a lot of stuff by ear when I first started playing. It's a tough question, but I'd have to say taking a Diatonic Harmongy class.
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